The Outback Blues by Gordon Goodwin. For big band. Medium to difficult. Score and parts. Published by Walrus Music Publishing (WA.56194).
Commissioned by the Elko High School Jazz Ensemble, Walt Lowell, director, this is a bluesy shuffle with a quirky twist. The melodies are full of half-step intervals, which are intended to convey a little edge, so don't be shy play 'em like you mean it! The ensemble also has many dotted eight/sixteenth note rhythms if you play these nice and tight it will help propel the shuffle groove. This chart is a great vehicle to feature a number of your best soloists who can resist blowing on blues in F, even if it is a 16 bar chorus? This chart is lots of fun, not too difficult and makes for a spirited opener or set closer. No sax doubles, lead trumpet high note is written F. Lead trombone high note is A.5 Saxes (A,A,T,T,B),4 Trumpets, 4 Trombone (4th = bass trombone),p/g/b/d, percussion (Vibes).

Blues for a Bad Hair Day by Eric Richards. For jazz ensemble. This edition: Trumpet range to F6. Bossa Nova, Blues, Jazz. Level 4. Score and set of parts. Published by UNC Jazz Press (NC.1101).
(9 Brass) (Level 4) This "tongue-in-cheek", rompin' blues caricature is a lot of fun! It features "crunch" guitar, baritone sax and trombone on the head with lots of solo space for all likely suspects. Tenor saxophone optionally doubles on piccolo, which adds a great deal to the piece, but is not critical. Guaranteed to keep your band and your audiences on their toes! Soprano saxophone lead.

Extra Crispy by Eric Richards. For jazz ensemble (features trumpet and trombone). This edition: Trumpet range to E6. Swing, Blues, Medium Tempo, Jazz. Eric Richards Series. Level 4. Score and set of parts. Published by UNC Jazz Press (NC.1129).
(8 Brass) (Level 4) This swinging blues with a bridge features trumpet and trombone. The solo section is followed by a very hip layered sectional soli passage. Written for the U.S. Army Jazz Ambassadors appearance at the annual convention of the International Association of Jazz Educators.

Blues Almighty by Ken Schaphorst. For jazz ensemble (solos for organ and guitar). This edition: Trumpet range to G6. Gospel, Swing, Blues, Contemporary, Jazz, Medium Tempo. Level 4. Score and set of parts. Published by UNC Jazz Press (NC.1176).
(7 Brass) (Level 4) A gospel-influenced, swinging blues featuring ample space for organ and guitar soloists, this composition reaches back into the roots of the blues tradition while at the same time connecting to the present with a more contemporary, rock attitude. Recorded on Ken Schaphorst Big Band: Purple, featuring John Medeski on organ and Brad Shepik on guitar. Organ solo may be played by another soloist.

Triple Blues by Ed Xiques. For jazz ensemble (solos for piano and trumpet). Level 4. Score and set of parts. Published by UNC Jazz Press (NC.1699).
(8 Brass) Three-quarter time. No doubles in saxophones. Piano and trumpet solos. Any one saxophone can solo. There is a 16 measure bass solo with background.

Hubtones by Larry Engstrom. For jazz ensemble (trumpet and alto saxophone solos). This edition: Trumpet range to G6. Blues. Level 5. Score and set of parts. Published by UNC Jazz Press (NC.416).
(10 Brass) A tour de force that will challenge any band. Fast Bb blues features a Freddie Hubbard transcription arranged for all the horns, but particularly trumpets. Requires an outstanding trumpet section, but will most definitely show them off if you've got them! Solos for trumpet and alto. Recorded on North Texas State University's Live in Montreux '83 album and UNC's Alive XV.

Two Views Of The Blues by Neal Finn. For jazz ensemble. This edition: Trumpet range to E6. Ballad. Level 5. Score and set of parts. Published by UNC Jazz Press (NC.449).
(8-10 Brass) One of my best; actually two charts in one. May be performed as one composition with two sections or either "view" can be performed as an individual piece. A celebration of the Ellington tradition. View 1 is a lush, romantic ballad a la Warm Valley. View 2 is a good old back beat shuffle a la Things Ain't What They Used To Be. View 1 features bari solo in the style of Harry Carney. Difficult, but playable sax soli makes use of double time feel. Extended piano solo opens the piece, which has a beautiful melody. View 2 has tricky head with triplet rhythms that will drive you crazy. Solos for trumpet and trombone can be opened. Some Ellington plunger mute effects. Ends with a Cat Anderson style lead trumpet chorus. Worth the effort.

The Suspect by Frank Griffith. For jazz ensemble. This edition: Trumpet range to G6. Blues. Level 4. Score and set of parts. Published by UNC Jazz Press (NC.564).
(8 Brass) An original up-tempo minor blues with two open solo sections divided by a four chorus sax soli. There is an antiphonal pedal-point section with exciting counterpoint between the saxes, trombones and trumpets. Featured on the 1987 Manhattan School of Music Jazz Orchestra release, Shades of Time, with solo by Steve Turre. Clarinet part may be played on soprano sax.

Hot Blues by The Terry Gibbs Dream Band. Edited by Jeffrey Sultanof and Rob Duboff. Arranged by Bob Florence. For big band (2 Alto Saxophones, 2 Tenor Saxophones, Baritone Saxophone, 4 Trumpets, 3 Trombones, Vibraphone, Piano, Bass, Drums, Optional Bb soloist, Optional Eb soloist). Swing. Difficult. Published by Jazz Lines Publications (JL.JLP-8940).
This Bob Florence arrangement was written for Terry Gibbs to perform with the Dream Band on the Steve Allen show. This is an all-out vibe feature! We have included optional alternate B-flat and E-flat soloist parts so that it may be played with any featured soloist. This would make a great opener or closer due to the fast tempo (half note = 170). Ranges: Trumpet 1 to D6; Trombone 1: to C5.

St. Louis Blues by Nat "King" Cole. Edited by Rob Duboff and Jeffrey Sultanof. Arranged by Nelson Riddle and Leo Shuken. For studio orchestra with vocal (Vocal, Reed 1: Alto Saxophone/Flute, Reed 2: Alto Saxophone/Flute, Reed 3: Tenor Saxophone/Clarinet, Reed 4: Baritone Saxophone, 3 Trumpets, 2 Trombones, 3 Violins, Viola, Cello, Guitar, Piano, Bass, Timpani, Drums). Swing. Medium Difficult. Published by Jazz Lines Publications (JL.JLP-9368).
This arrangement was originally sketched by Nelson Riddle for the Nat Cole TV show in either 1956 or '57 and orchestrated by Leo Shuken. The arrangement was then used for the movie St. Louis Blues, filmed in 1958 (with Nat Cole singing and playing the part of W.C. Handy). This is a dramatic feature for your vocalist and is not a technically demanding arrangement to put together. Reeds 1 and 2 double on flute and reed 3 doubles on clarinet. Ranges: Trumpet 1: to C6; Trumpet 2: to A5; Trombone 1: to C5.

Blues On The Double by Count Basie. Arranged by Myles Collins. For big band. Swing. Medium. Published by Lush Life (JL.LL-1138).
Blues on the Double is a very rare Count Basie chart. Written by Buck Clayton and generally more associated with the Ellington band, this Basie version swings harder and offers more solo opportunities for alto, trumpet and tenor. Perhaps unusually for a Basie chart there is no solo spot for piano, though you could swap for a sax solo if you wished. The chart is as per the recording sample, except that the trumpet solo has been swapped for the clarinet solo. There are no written sax doubles. This is a driving up-tempo swing dance chart.

Blacksmith Blues by Ella Mae Morse. Edited by Alan Glasscock. Arranged by Nelson Riddle. For big band with vocal. Swing. Medium. Published by Lush Life (JL.LL-2325).
Here is Ella Mae Morse's Blacksmith Blues, written for her by Jack Holmes. This song was originally the flipside to Love Me or Leave Me, issued in 1952 by Capitol Records, and it became her biggest hit. The chart was scored by Nelson Riddle whilst he was staff arranger at Capitol, and is probably the only big band chart which includes an anvil in the rhythm section. Whilst the original recording has a fade out at the end, we have written a definite ending, because fadeouts just don't work outside of a studio. The vocal key is Bb and there are no sax doubles. Style: . Swing @ 130 b.p.m.Ranges:Trumpets . 1-4: . D6, E6, C6, C6Trombones . 1-4: . Bb4, Bb4, Bb4, E4Vocal key: BbVocal Range: F3 - Bb4 (11 steps as sung).

Blues In The Night by Glenn Miller. Edited by Alan Glasscock. Arranged by Billy May. For big band with male/female vocal duet and backing vocal group. Swing. Advanced. Published by Lush Life (JL.LL-2353).
Billy May wrote many outstanding charts for the Miller band, and this is one of his finest. The writing is moody, sometimes dark, but harmonically rich and full. It contains little of the trademark Miller syrup sax sweetness, yet is full of tension and emotional energy. The chart is scored for boy & girl vocal with a 4 piece vocal backing group and it won't work without them. Both altos double clarinet, and the solo trumpet fill-ins are written out in full too. This is not an easy chart to get right, but if your band has the talent to do it, your audience will really appreciate the result. The vocal key is F throughout. Style: . Swing @ 95 b.p.m.Ranges:Trumpets . 1-4: . B5, Bb5, Bb5, E5Trombones . 1-4 . :A4, F4, D4, C4Vocal Key: FFemale Range: A3-F5Male Range: A2-C4TTBB Group.

Blues For Uncommon Kids arranged by Don Menza. For Big Band. Difficult. Score and parts. Published by Walrus Music Publishing (WA.51400).
Great Menza blues chart. A must for every book now available. As recorded by Belson on East Side Suite.

Almshouse Street Blues by Philip Sparke (1951-). Score & Parts. Anglo Music Concert Band. Grade 2.5. Anglo Music Press #AMP231. Published by Anglo Music Press (HL.44007612).
In 2007, Philip Sparke received the exciting task of composing three new works for the historic Monmouth School, situated on the Welsh/English border, at which he was composer-in-residence. Almshouse Street Blues was conceived in a truly democratic way, with each member of the band choosing the kind of piece they wanted! The result reflects the summer festival that takes place in the town each year, where you can experience anything from folk music to jazz and even bangra. With Almshouse Street Blues, Philip Sparke has written a work that will fit perfectly in any festival program. Dur: 4:45.

Baby Blues by Carl Saunders. Arranged by Mike Barone. Carl Saunders Series. Published by Walrus Music Publishing (WA.50883).
This Carl Saunders original was written to con-note how a baby would conceve the blues. The trumpet is featured through out and has hip backgrounds and swinging ensemble. As recorded by the Carl Saunders Big Band on "Be Bop Big Band" on Sea Breeze Jazz.

Groove Blues arranged by Don Menza. For Big Band. Difficult. Score and parts. Published by Walrus Music Publishing (WA.51403).
What a great classic. A must for every book. Recorded on "The Louie Bellson Explosion.".